Language: English . Brand New Book. In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy s visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life. N° de réf. du libraire AAJ9780822358404

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Synopsis :

In "Birth of an Industry," Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life.

Critique&colon;
"Welcome to an X-ray of Toontown, its Bones showing. Minstrelsy has sometimes seemed the skeleton in the closet of American animation, its racist tar coons hiding inside our most beloved cartoons--Felix, Mickey, Bugs, Daffy, and a host of others both before and after them. With sweeping erudition and definitive archival and theoretical diagnoses, Nicholas Sammond shows just how pervasively blackface figurations have formed the backbone of our animated fantasy lives. Modern cartoons don't merely nod to nineteenth-century blackface performance, Sammond establishes, they constitute its afterlife."--Eric Lott, author of"Love and Theft: Blackface Minstrelsy and the American Working Class"

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Orders usually ship within 1-2 business days. Domestic Shipments are sent by Royal Mail, and International by Priority Airmail. We are happy to accept returns up to 30 days from purchase. Please contact the seller directly if you wish to return an order.

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